IMDb-BEWERTUNG
6,7/10
4181
IHRE BEWERTUNG
Während der 1960er-Jahre verlieben sich zwei amerikanische Jazzmusiker, die in Paris leben, in zwei amerikanische Touristinnen.Während der 1960er-Jahre verlieben sich zwei amerikanische Jazzmusiker, die in Paris leben, in zwei amerikanische Touristinnen.Während der 1960er-Jahre verlieben sich zwei amerikanische Jazzmusiker, die in Paris leben, in zwei amerikanische Touristinnen.
- Für 1 Oscar nominiert
- 2 Nominierungen insgesamt
Guy Pedersen
- Bass Player
- (as Guy Pederson)
Emilien Antille
- Alto Sax Player with Armstrong at Club 33
- (Nicht genannt)
Roger Blin
- Guitarist Fausto the Moor
- (Nicht genannt)
Charles Bouillaud
- Luggage Carrier in Train
- (Nicht genannt)
Michel Dacquin
- Guest at Devigne's Party
- (Nicht genannt)
Hélène Dieudonné
- The Pusher
- (Nicht genannt)
Michel Garland
- Club 33 Customer
- (Nicht genannt)
Ausgewählte Rezension
The American in Paris theme has been done very often in American cinema. The tradition is huge splashy technicolor with Gene Kelly, Fred Astaire, Jane Powell, Audrey Hepburn cavorting around the well known streets and landmarks. Those are nice films, but that ain't what you get here.
No Louvre, no Arc de Triomphe, no Eiffel Tower, a brief shot of Notre Dame from a distance; that's about it from the well known Paris. The Paris we see here in this black and white film is of the jazz clubs of the Left Bank where two expatriate musicians, Paul Newman and Sidney Poitier, eke out a living doing what they love.
Newman has ambitions though, he'd like to be a serious composer not a trombonist all his life. Poitier has come to Paris for reasons of the race problems in the USA.
Into their lives two American tourists come, Joanne Woodward and Diahann Carroll. A couple of dual romances commence.
Carroll and Poitier have a spirited debate over civil rights. The movement is getting into high gear in America and Carroll wants him to return and be part of it. No thanks, says Poitier, he just wants to do his jazz thing where his skin color isn't anyone's problem least of all his own.
Interestingly Carroll was doing a kind of warm up for another part of a black woman in Paris on Broadway the following year in Richard Rodgers, No Strings. In that play she falls for an expatriate writer played by Richard Kiley. An interracial romance, one of the first shown on the Broadway stage, still a lot of the same issues were in that show.
Paris Blues is a different slice of Parisian life for an American film to explore. All four leads do just fine, though the film probably doesn't rank in the top work of any of them.
Lots of jazz music for the aficionado. And of course the presence of the incomparable Louis Armstrong. The highlight of the film is the jam session with those two ersatz musicians Newman and Poitier.
The way Satchmo is received by the public only proves the truth of that line he sang in High Society about the way the French love American jazz.
No Louvre, no Arc de Triomphe, no Eiffel Tower, a brief shot of Notre Dame from a distance; that's about it from the well known Paris. The Paris we see here in this black and white film is of the jazz clubs of the Left Bank where two expatriate musicians, Paul Newman and Sidney Poitier, eke out a living doing what they love.
Newman has ambitions though, he'd like to be a serious composer not a trombonist all his life. Poitier has come to Paris for reasons of the race problems in the USA.
Into their lives two American tourists come, Joanne Woodward and Diahann Carroll. A couple of dual romances commence.
Carroll and Poitier have a spirited debate over civil rights. The movement is getting into high gear in America and Carroll wants him to return and be part of it. No thanks, says Poitier, he just wants to do his jazz thing where his skin color isn't anyone's problem least of all his own.
Interestingly Carroll was doing a kind of warm up for another part of a black woman in Paris on Broadway the following year in Richard Rodgers, No Strings. In that play she falls for an expatriate writer played by Richard Kiley. An interracial romance, one of the first shown on the Broadway stage, still a lot of the same issues were in that show.
Paris Blues is a different slice of Parisian life for an American film to explore. All four leads do just fine, though the film probably doesn't rank in the top work of any of them.
Lots of jazz music for the aficionado. And of course the presence of the incomparable Louis Armstrong. The highlight of the film is the jam session with those two ersatz musicians Newman and Poitier.
The way Satchmo is received by the public only proves the truth of that line he sang in High Society about the way the French love American jazz.
- bkoganbing
- 14. Dez. 2005
- Permalink
Handlung
WUSSTEST DU SCHON:
- WissenswertesPaul Newman was coached in playing the trombone by Billy Byers, while the playing for Newman on the soundtrack was done by Murray McEachern. Sidney Poitier's tenor sax playing was done by Paul Gonsalves. The soundtrack was recorded May 1-3, 1961 at Reeves Sound Studios in New York City.
- PatzerSome may believe that the mouthpiece ligature on the tenor saxophone that Eddie Cook (Sidney Poitier) plays is upside down. However, in the first scene when the band is playing, it can be seen that the thumbscrew that adjusts the ligature is on the bottom, where it normally would be. It is, therefore, not upside down.
- Crazy Credits"Introducing" Serge Reggiani, who by 1961 had been in French films for 20 years and a star at least throughout the 1950s.
- VerbindungenFeatured in A Century of Black Cinema (2003)
- SoundtracksTake The 'A' Train
(uncredited)
Music by Billy Strayhorn
Recorded at Reeves Sound Studios, New York on May 2 & 3, 1961.
Label - United Artists
Top-Auswahl
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Details
Box Office
- Bruttoertrag in den USA und Kanada
- 1.300.000 $
- Laufzeit1 Stunde 38 Minuten
- Farbe
- Seitenverhältnis
- 1:66
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